楊世芝 (b.1949~)

1979年美國舊金山州立大學藝術系畢業,1982-1983年期間就讀舊金山州立大學藝術研究所,1983年返臺。1989年加入「二號公寓」,參與多次聯展。隨後於臺北伊通公園的五次新作發表及參與成都雙年展、臺灣美術雙年展、深圳國際水墨雙年展等重要聯展。

創作初期,楊世芝以壓克力顏料與油彩為主要創作媒材,作品呈現具象與抽象並存,如同創作及生活可視為「整體」關係一般,創作由生活出發,創作的結果也可說是基於生活經驗。

90年代開始進行水墨拼貼,結合自動性的書寫以及運筆,在毫無構圖結構的限制之下,可以是單純的律動,也可以是塗鴉,不具有任何既定的概念和表達目的,只是一些各自獨立的筆觸。紙上書寫經過藝術家自由裁剪之後,成為造形不固定且大小各異的碎片,同時承載各種斷裂與變異過後的抽象筆觸。楊世芝就以這些已經失去脈絡連續性的紙片為素材,紙片反覆地拼貼與搭接,留下不規則的形狀,連帶不平整的紙基厚度堆成另類的肌理,使畫面呈現出一種介於平面和淺浮雕之間的抽象視覺,從無到有地在空白的畫布上,一步步地築出世界。

楊世芝的訓練,先是在西方學習繪畫,經過多年的實踐之後,才轉向水墨創作。她運用筆墨及創作的方式,也與常態所見的水墨繪畫差異極大。正因為如此,反而能夠從另類的視角,為水墨藝術提供創新的思惟,跳脫「國畫」的意識形態與歷史包袱,使水墨回歸自身的純粹性與本然。

 

Emily Yang (b.1949~)

A 1979 graduate of San Francisco State University, Emily Yang continued to study in the graduate program in fine arts at SFSU from 1982 to 1983 before returning to Taiwan in 1983. She joined the Apartment No. 2 art collective in 1989, taking part in numerous group exhibitions. She subsequently participated in five exhibitions of new works at IT Park Gallery, along with such prominent group exhibitions as the Chengdu Biennale, Taipei Biennial, and the Shenzhen International Ink Painting Biennial.

Early in her career Emily Yang worked chiefly with acrylic and oil paints as creative media. Both the figurative and the abstract coexisted in her works, the way that art and life can be seen as a “holistic” relationship in which life gives rise to art, and the creative outcome is rooted in life experience.

Yang began creating ink collages in the 1990s, creating “automatic” writing and brushwork, and free of compositional restraints – it can be purely rhythmic, perhaps doodles, not conforming to any set concepts or motives of expression – rather, just brushstrokes that stand alone. Having been freely cut out by the artist, the ink on paper becomes fragments of unpredictable form and irregular size, carrying abstract brushstrokes having undergone assorted fractures and variations. With these paper scraps bereft of context and continuity as materials, Emily Yang places and connects the fragments over and over, leaving irregular shapes and forms, layered with uneven thickness to produce alternative textures to give the picture an abstract appearance somewhere between two-dimensional and relief. Filling the blank canvas one move at a time, she constructs different worlds.

Emily Yang received her initial training in the West, only transitioning to working with ink after years of practice in the Western tradition. Her application of ink and creative approach differ greatly from those commonly seen in conventional ink painting. And consequently, this enables alternative perspectives through which to offer innovative ways to consider the art of ink painting. Thus by going beyond the ideology and historical baggage associated with “Chinese painting,” it restores the purity and essence of ink painting.